Exhibition of paintings and water colors by Thomas Eakins : March

EXHIBITION OF PAINTINGS AND WATER
C O L O R S B Y T H O M A S E A K I N S : M A R C H 17APRIL 14, 1923 : A T T H E G A L L E R I E S O F
J O S E P H B R U M M E R , 43 E A S T F I F T Y - S E V E N T H
STREET, N E W Y O R K .
B rummer, N Y
B R O O K L Y N M U S E U M A R C H I V E S 1.4.046
EXHIBITION OF
PAINTINGS AND WATER COLORS
BY
THOMAS EAKINS
MARCH 17 — APRIL 14, 1923
AT T H E GALLERIES O F
JOSEPH BRUMMER
43 EAST FIFTY-SEVENTH STREET
NEW YORK
EXHIBITION OF
PAINTINGS AND WATER COLORS
BY
THOMAS EAKINS
MARCH 17 — APRIL 14, 1923
AT T H E GALLERIES O F
JOSEPH BRUMMER
43 EAST FIFTY-SEVENTH STREET
NEW YORK
" I was born July 25, 1844. My father's father was f r o m
t h e north of Ireland of t h e Scotch Irish. On my mother's
side my blood is English and Hollandish. I was a p u p i l of
Gerome (also of Bonnat and of Dumont, sculptor). I have
taught in life classes, and lectured on anatomy continuously
f r o m 1873. I have painted many pictures and done a little
sculpture. For t h e public I believe my life is all in my work.
Yours truly, Thomas Eakins."
This was written about 1893 in response to a request
for information about himself. Nothing which one can say
could more clearly show Eakins' character, nor explain both
his art and the reasons for its tardy public appreciation.
The reticence in the letter is the veil with which h e covers
his consciousness of strength and his great pride. H e would
not stoop. "Here are my pictures," h e seems to say, "like
them or not as you choose." We are catching u p to h i m at
last and an ever-increasing n u m b e r hold that American Art
has produced nothing greater than t h e work of Thomas
Eakins.
BRYSON BURROUGHS
Thomas Eakins was a m a n of great character. He was
a man of iron will, and his will was to paint and to carry
out his life as h e thought it should go. This h e did. I t cost
h i m heavily, but in his works we have t h e precious result
of his independence, his generous heart and his big mind.
Eakins was a deep student of life, and with a great love h e
studied humanity frankly. He was not afraid of what this
study revealed to him.
In t h e matter of ways and means of expression—the
science of technic—he studied most profoundly, as only a
great master would have t h e will to study. His vision was
not touched by fashion. He cared nothing for prettiness or
cleverness in life or in art. He struggled to apprehend t h e
constructive force in nature and to employ in his work t h e
principles found. His quality was honesty. "Integrity" is
t h e word which seems best to fit him.
Eakins many years ago taught in t h e Pennsylvania
Academy of t h e Fine Arts, and in those days it was an excitement to hear his pupils tell of him. They believed in h i m
as a great master, and there were stories of his power, his
will, in t h e pursuit of study, his unswerving adherence to
his ideals, his great willingness to give, to help, and t h e
pleasure h e had in seeing t h e original and worthy crop out
in a student's work. And t h e students were right, for all this
character you will find manifest in his work. Eakins' pictures and his sculptures are t h e recordings of a m a n who
lived and studied and loved with a strong heart.
ROBERT HENRI
T h e exhibition of works by Thomas Eakins held at the
Metropolitan Museum in 1917 made a deep impression on
t h e mind of every person at all prepared to understand the
importance of t h e master. Such an art as that of Mr. Eakins,
like t h a t of other great men, demands time for its adequate
appreciation, and even those who h a d studied t h e artist
for years were astounded at t h e collective effect of his painting. Not only were t h e best qualities of American art in this
work, but a personality, austere and profound in its beauty,
appeared with t h e authority of a revelation. Since then, t h e
examples of this art on view at t h e Museum have deepened
t h e admiration of our public, and I am proud to show at my
gallery this exceedingly important group of works, t h e first
to be p u t on exhibition since t h a t memorable collection at
t h e Museum convinced me that in Thomas Eakins America
h a d added another name to t h e line of t h e great artists.
JOSEPH BRUMMER
PAINTINGS
1
T h e Veteran
2
Katherine
3
J o h n Biglen
4
T h e Bohemian
5
Pair-oared Shell
6
Home Ranch
7
Cowboy Singing
8
Mending t h e Net
9
W. H. Macdowell
10
T h e Crucifixion
11
J o h n Laurie Wallace
12
T h e Young Man
13
William Rush Carving t h e Allegorical Figure
14
T h e Swimming Hole
15
Between Rounds
16
Landscape at Gloucester, New Jersey
17
T h e Artist and his f a t h e r Hunting Reed-birds
18
Cardinal Falconio
19
Dr. Horatio Wood
20
Head of Cowboy
21
Study for t h e Crucifixion
(Loaned by Mr. Murray)
22
The Cellist
(Loaned by Mr. Murray)
23
Archbishop Wood
(Loaned by Mr. Murray)
WATERCOLORS
24
Spinning
25
Cowboy Singing
26
Negro Boy Dancing
27
Taking u p t h e Net
28
The Zither Player
29
Gross Clinic
30
Young Woman
SCULPTURE BY SAMUEL MURRAY
BrOnze figure of Thomas Eakins
SjKS
JOSEPH BRUMMER
WORKS OF ART
E G Y P T I A N , G R E E K , ROMAN
BYZANTINE AND GOTHIC
SCULPTURES
T E X T I L E S AND TAPESTRIES
PAINTINGS
43 EAST FIFTY-SEVENTH STREET
NEW Y O R K
i f 203 BIS BOULEVARD ST. GERMAIN
PARIS